All I Ever See in You Is Me bares Johnson’s emotional depths within sonic simplicity, as she taps into self-possession and self-doubt without overburdening her classic sensibilities with the melodramatic.
Although Racing Time showcases DWNTWN’s hook-driven pop sensibilities, it positions such displays on the played out stage of ‘80s emulation and in the less-than-stellar lighting of the album’s second half.
Although From a Room likely won’t sweep the CMAs as Traveller did, its refined craftsmanship hammers home Stapleton’s abilities as a singer and songwriter.
Gone Now shares the '80s enthusiasm and sincere sentimentalism of Bleachers' debut, but Jack Antonoff's over-the-top flair occasionally sacrifices the music.
Johnnyswim's Georgica Pond situates catchy refrains across many different genres and moments of intimacy, honing their rich hooks with more sophisticated musical accompaniment.
Exhibiting a combination of talent, soul, and grit often unmatched by debuting artists, Julie Rhodes seems poised to become a mainstay in the Americana blues music scene for years to come.
On Sorrows and Glories, Canadian folk darlings, Red Moon Road, catalogue dynamic musical narratives indebted to traditional and contemporary forms of roots music.
Two years ago, Rhodes was working at an ice cream parlor. Now, she's on the verge of releasing her debut album, an 11-track opus of powerhouse Americana and blues with grit and political edge.
Placing cinematic swells and retreats in a mélange of delicate arpeggios, thrashing metal, and haunting vocality, Dust and Disquiet reimagines what post-rock music can do.
Daughter's Not to Disappear beautifully distills what it means to be human and to experience pain, but with far greater nuance and maturity than their debut.